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creating performances in situ

To investigate the relationship between the body and space, body and city, body and environment.

To train the body as a «translator» in order to map, perceive and interpret a certain space by generating a gestural and performative language.

To explore alternative spaces (especially the public space) by collecting stories and by shifting the boarders between the fictional and documentary.

To use the process of translation as a medium to generate various narratives and forms of how the body can enact a story.

Methodology of the workshops based on a collaborative process and three working fields:

BODY WORK: A daily physical training that combines teaching principles from bodywork (such as yoga and the five rhythms) with performative approaches based on the notions of «site specificity» and «site relatedness». This training is assisted by guided improvisations as a form of putting the body into the state of «presence». Furthermore the improvisation serves as a basis to build a group dynamic and to discuss about individual and collective issues.

SPATIAL PRACTICE: The exploration of specific places in order to create interventions that change or accentuate in a subtle way what is happening (or what might happen). The main goal is to observe the characteristics, qualities and dynamics of such a place by embodying it and by designing various «moments of interaction» and «hidden choreographies».

DRAMATURGY: The elaboration of different types of dramaturgy: narrative, map, script or score that exhibits, merge and especially, translates the experiences and discoveries made during the studio work (inside) and the interventions in the public space (outside).

"At the core of the concept of Body Mapping, lies the relationship between the body and space, especially the investigation of how the space might condition the body, and the body the space. Although this relationship has always been intertwined and to some extent, obvious (since the human condition will always be dependent on the space), there are still many unexplored aspects of it. What can happen in the space «in-between»? Which different incidents can appear between the experiences made inside and outside the body? What kind of bodily language can be found for these incidents? These are some of the questions that are pivotal to me." (excerpt of the text: Mapping the Teufelsberg or how to embody history by Nathalie Fari)